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Memphis Minnie Vol 4 1938 - 1939

Memphis Minnie; vocal, guitar.

With contributions by;Little Son Joe, vocal guitar.Charlie McCoy, mandolin. Black Bob, piano and others...
Genres: Memphis Blues, Chicago Blues, Country Blues, Country Blues Guitar.

 Informative booklet notes by Howard Rye.
Detailed discography.

Memphis Minnie had only one recording date in 1938. Its unusual atmosphere is attributable in main to Charlie McCoy’s mandolin, which introduces a whiff of string bands and minstrelsy, especially noticeable on Long As I Can See You Smile. Genuine double meanings are rare, but the advice in Good Biscuits, “Don’t let no outside woman bake no biscuits for you man,” is equally valid whether taken literally of metaphorically, not that I imagine that the literal meaning was uppermost in the minds of either performers or listeners. The theme is continued in Keep On Eating. Minnie obviously belied in the old saying that the way to a man’s heart is through his stomach. Continued...

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Memphis Minnie Vol 5 1940 - 1941

Memphis Minnie; vocal, guitar.

Includes; Little Son Joe, vocal, guitar and others...

Genres: Memphis / Chicago Blues

 Informative booklet notes by Howard Rye.
Detailed discography

After the long interval since their previous session Minnie and Joe’s June 1940 session is marked by a sense of commanding confidence, and notably inspired instrumental choruses.
The initially autobiographical Nothing In Rambling promotes commonsense, down to earth aspirations.

“You may go to Hollywood and try to get on screen,
But I’m goin’ to stay right here and eat these old turnip greens”

The reminiscent mood extends to the remarkable Ma Rainey, a tribute to an acknowledged influence who had died in December 1939. It is replete with the paradox of wondering in the first verse,

“where could Ma Rainey be”,

and making clear in the last that she is known to be dead:

“People, it sure look lonesome, since Ma Rainey been gone,
But she left little Minnie, to carry the goods on.”


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